All articles tagged with #club kid
The Cannes buzz surrounds Club Kid, Jordan Firstman’s directorial debut, with Cara Delevingne and Diego Calva; the first trailer shows a queer party promoter whose life is upended when he meets the 10-year-old son he never knew. A24 acquired distribution after a bidding war that reportedly reached $17 million, and the film hits theaters on November 6.
Jordan Firstman’s Cannes-buzzed Club Kid trailer reveals a surprisingly warm, oddball comedy about a party guy who learns he has a son and must become a father, with Diego Calva and Cara Delevingne in supporting roles; the film has been praised for its stylistic energy and was acquired by A24 in a $17 million deal for a November awards-season release.
TIFF has unveiled its 2026 Gala and Special Presentations lineup, featuring world premieres from nearly 30 countries and high-profile titles from Cannes, Sundance, and more, including Fjord, Club Kid, Minotaur, La Bola Negra, and Gentle Monster; Sundance favorites Josephine and The Only Living Pickpocket in New York appear in Special Presentations, with opening night Being Heumann and closing night Villeneuve: The Rise of a Legend, as the festival runs September 10–20.
Thierry Frémaux argues Cannes remains a powerful, efficient hub for global cinema even as Hollywood restructures and streaming changes the industry. He notes strong attendee presence, including major stars, and buzz around Un Certain Regard titles like Club Kid, defending the festival’s balance between Competition and its incubator program. The Palme d’Or went to Cristian Mungiu’s Fjord, and while some American faves like James Gray didn’t win, Frémaux says US cinema remains central. He also addresses the Canal+/Bolloré controversy, hopes for Netflix’s return, and confirms plans for Cannes 2027 (May 11–22) as the festival boldens its continued evolution amid political and market tensions.
IndieWire critic David Ehrlich argues Cannes 2026 offered a weak lineup, but three films—Camp Miasma (Teenage Sex and Death at Camp Mishima) by Jane Schoenbrun, Club Kid by Pawel Pawlikowski, and Andrey Zvyagintsev’s Minotaur—stood out for their bold formal daring and incisive examinations of identity and reality. Camp Miasma uses autofictional horror to map mind and body, Club Kid follows a sober, maturation arc of a gay Manhattan scenester, and Minotaur places a domestic crisis within a brutal geopolitical frame, culminating in a haunting final image. Together, they demonstrate cinema’s power to disrupt and redefine perception even amidst a festival lineup Ehrlich found lacking overall.
Cannes’ closing slate may be mild in the moment, but several films are being highlighted as possible Oscar contenders: The Black Ball is seen as the strongest prospect, with high-profile appearances from Penélope Cruz and Glenn Close; Club Kid sold to A24 for around $17 million and is positioned for awards-season play; Scarlett Johansson’s Paper Tiger and Léa Seydoux’s Cannes run could mount campaigns; Rami Malek and Javier Bardem deliver standout performances in The Man I Love and The Beloved; Cristian Mungiu’s Fjord could break through in foreign categories; and veteran directors Andrey Zvyagintsev, Lukas Dhont, Ryusuke Hamaguchi, and Pawel Pawlikowski are back with new work that might yield nominations, aided by a new rule permitting two nominations in one category for actors, potentially helping Sandra Hüller in Fatherland.
At Cannes, Jordan Firstman’s directorial debut Club Kid secured a reported $17 million sale to A24 after a competitive bidding war, signaling a major festival win for a film about a Manhattan club promoter whose life expands into queer family drama. Shot on 35mm for a polished look, the movie is aimed at a theatrical release with a star-and-cast-heavy rollout, and Firstman discusses his personal growth, addressing perceptions of his persona, meeting Joel Almodóvar, and the importance of portraying queer life with nuance rather than as a stereotype. He also notes the film’s strong festival reception and the intention to bring the full cast to promotional events, including a standout post-Cannes run and the possibility of BAFTA Rising Star momentum.
Cannes 2026 saw Hollywood largely absent as studios balk at big-budget risks amid wary critics, but the festival still delivered buzz: Jordan Firstman’s directorial debut Club Kid sparked a $17 million global rights deal with A24, marking the festival’s first major bidding win. AI was openly embraced as a cost-saving and creative tool, signaling a shift in how films are produced and marketed. Geopolitical tensions cast a somber mood despite the cinema showcase, underscoring a Cannes edition defined by experimentation and industry recalibration rather than star-studded spectacle.
At Cannes 2026, Jordan Firstman’s Club Kid sold for $17 million in a bidding war, with A24 winning ahead of rivals including Mubi, Focus Features, Searchlight, and Netflix. The film—written, directed by, and starring Firstman—follows a hedonistic party boy who discovers he has a ten-year-old son and must grow up, with Diego Calva and Cara Delevingne co-starring. The deal marks the festival’s first major sale amid a slate lean on Hollywood titles, heightening buzz for Firstman’s next project.
A24 has secured global rights to Jordan Firstman’s Cannes breakout Club Kid after a heated bidding war that pushed the deal into the high teens; the film, written, directed by and starring Firstman, world premiered at Cannes with Cara Delevingne co-starring, and is produced by Topic Studio with Stay Gold, with UTA Independent Film Group negotiating the deal as Cannes market activity heated up.
A24 has acquired worldwide rights to Jordan Firstman’s Cannes-selected dramedy Club Kid for $17 million after a heated bidding war, with Topic Studios financing and producing the project; other bidders included Mubi, Focus Features, Searchlight, and Netflix before A24 prevailed.
Jordan Firstman’s Cannes title Club Kid has attracted eight-figure offers from multiple studios, with strong domestic credentials and fierce competition described as the festival’s most commercial title. UTA Independent Film Group is in the middle of the deal for domestic rights while Charades handles international sales, and the buzz was underscored by lead Cara Delevingne’s seven-minute ovation and strong festival reception.
Jordan Firstman’s feature debut Club Kid premiered in Cannes’ Un Certain Regard, sparking a high-stakes sales push with offers in the high seven figures (potentially eight figures) from buyers including Mubi, Focus Features, Searchlight Pictures, A24 and Netflix. UTA leads the international sales with Charades assisting; Clockwork bowed out and Black Bear has shown interest. The dramedy about a New York City club promoter who must reckon with the son he never knew has drawn praise and a six-minute standing ovation, signaling Cannes’ first breakout hit of 2026.
Jordan Firstman’s Cannes debut Club Kid is a winsome, clever dramedy that begins in the New York nightlife and leaps a decade forward to a 10-year-old son, forcing a one-time party promoter to confront responsibility. Anchored by sharp humor and a warm ensemble (Cara Delevingne, Eldar Isgandarov, Diego Calva) and guided by a understated, humanistic directorial touch, the film blends satirical edge with heartfelt moments to suggest that slowing down and embracing intentionality can coexist with charm and flair.
Jordan Firstman’s feature debut Club Kid, shot on location in real New York clubs, follows a fading party promoter who learns he has a 10-year-old son. The film, produced independently (Topic Studios) after years in writers’ rooms and short films, earned a Cannes premiere in Un Certain Regard after Firstman secured Rihanna’s approval for the opening scene’s song. The project blends authentic NYC nightlife with a personal coming-of-age angle and marks a bold move into feature filmmaking outside the traditional studio system.